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NAMED ONE OF THE BEST BOOKS OF THE YEAR BY
Slate • Cosmopolitan • Salon • BuzzFeed • BookPage
Written with the riveting storytelling of authors like Emma Donoghue, Adam Johnson, Ann Patchett, and Curtis Sittenfeld, Cartwheel is a suspenseful and haunting novel of an American foreign exchange student arrested for murder, and a father trying to hold his family together.
When Lily Hayes arrives in Buenos Aires for her semester abroad, she is enchanted by everything she encounters: the colorful buildings, the street food, the handsome, elusive man next door. Her studious roommate Katy is a bit of a bore, but Lily didn’t come to Argentina to hang out with other Americans.
Five weeks later, Katy is found brutally murdered in their shared home, and Lily is the prime suspect. But who is Lily Hayes? It depends on who’s asking. As the case takes shape—revealing deceptions, secrets, and suspicious DNA—Lily appears alternately sinister and guileless through the eyes of those around her: the media, her family, the man who loves her and the man who seeks her conviction. With mordant wit and keen emotional insight, Cartwheel offers a prismatic investigation of the ways we decide what to see—and to believe—in one another and ourselves.
In Cartwheel, duBois delivers a novel of propulsive psychological suspense and rare moral nuance. No two readers will agree who Lily is and what happened to her roommate. Cartwheel will keep you guessing until the final page, and its questions about how well we really know ourselves will linger well beyond.
WINNER OF THE HOUSATONIC BOOK AWARD • Look for special features inside. Join the Random House Reader’s Circle for author chats and more.
“A smart, literary thriller [for] fans of Gillian Flynn’s Gone Girl.”—The Huffington Post
“Psychologically astute . . . DuBois hits [the] larger sadness just right and dispenses with all the salacious details you can readily find elsewhere. . . . The writing in Cartwheel is a pleasure—electric, fine-tuned, intelligent, conflicted. The novel is engrossing, and its portraiture hits delightfully and necessarily close to home.”—The New York Times Book Review (Editor’s Choice)
“Marvelous . . . a gripping tale . . . Every sentence crackles with wit and vision. Every page casts a spell.”—Maggie Shipstead, author of Seating Arrangements
“[You’ll] break your own record of pages read per minute as you tear through this book.”—Marie Claire
“A convincing, compelling tale . . . The story plays out in all its well-told complexity.”—New York Daily News
“[A] gripping, gorgeously written novel . . . The emotional intelligence in Cartwheel is so sharp it’s almost ruthless—a tabloid tragedy elevated to high art. [Grade:] A-”—Entertainment Weekly
“Sure-footed and psychologically calibrated . . . Reviewers of duBois’s first novel, A Partial History of Lost Causes, called it brainy and beautiful, a verdict that fits this successor. . . . As the pages fly, the reader hardly notices that duBois has stretched the genre of the criminal procedural.”—Newsday
“The power of Cartwheel resides in duBois’ talent for understanding how the foreign world can illuminate the most deeply held secrets we keep from others, and ourselves.”—Chicago Tribune
- Sales Rank: #211373 in Books
- Published on: 2014-05-20
- Released on: 2014-05-20
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .90" w x 5.20" l, .67 pounds
- Binding: Paperback
- 416 pages
Amazon.com Review
Essay by Author Jennifer duBois
In some of its themes, Cartwheel draws inspiration from the case of Amanda Knox, the American foreign exchange student accused, convicted, and acquitted of murdering her roommate in Italy. I was fascinated by the idea of writing about a fictional character who serves as a blank slate onto which an array of interpretations—often inflected by issues of class and privilege, gender and religion, American entitlement and anti-American resentment—tend to be projected. The fictional Lily Hayes shares these broad and nebulous qualities with Amanda Knox; their similarities lie in the contradictory but confident judgments they animate in others.
The eponymous cartwheel serves as a good example of the novel’s intention, as well as its relationship to reality. In the book, some view Lily Hayes’s interrogation room gymnastics as callous, others as benign, others as suspicious. These divided perceptions were initially inspired by the response to the cartwheel Amanda Knox was widely reported to have done during her interrogation—a cartwheel that, we now know, never actually occurred. This episode, I think, illustrates some of the central questions I wanted to explore in this novel—questions about how we decide what to believe, and what to keep believing—while also demonstrating part of why I needed a totally fictional realm to do this.
In contemplating the possibility that this book could be mistaken as a narrative about—and judgment on—real-life people and events, I’ve come to appreciate how entirely my view of writing and reading fiction is based on a single moral premise: that the act of imagining the experiences of fictional people develops our sense of empathy, as well as our sense of humility, in regarding the experiences of real ones. To me, the fictional barrier around the characters in this book isn’t just a necessary prerequisite for trying (or even wanting) to write a novel about the fallibility of perception—it’s also fundamental to my notion of fiction’s ethical possibilities in the world. And so it is as a person, even more than as an author, that I ask readers to have no doubt as to whose story this is. In the real universe is a girl who never did a cartwheel. This novel is the story of a girl who did.
From Booklist
*Starred Review* Lily Hayes, 21, is a study-abroad student in Buenos Aires. Her life seems fairly unexceptional until her roommate, Katy, is brutally murdered, and Lily, charged with the crime, is remanded to prison pending her trial. But is she guilty, and who is Lily, really? To find answers to these questions, the novel is told from multiple points of view—not only that of Lily but also that of her family; of sardonic Sebastien, the boy with whom she has been having an affair; and of the prosecutor in the case. In the process, it raises even more questions. What possible motive could Lily have had? Why, left momentarily alone after her first interrogation, did she turn a cartwheel? And has she, as her sister asserts, always been weird? In her skillful examination of these matters, the author does an excellent job of creating and maintaining a pervasive feeling of foreboding and suspense. Sometimes bleak, duBois’ ambitious second novel is an acute psychological study of character that rises to the level of the philosophical, specifically the existential. In this it may not be for every reader, but fans of character-driven literary fiction will welcome its challenges. Though inspired by the Amanda Knox case, Cartwheel is very much its own individual work of the author’s creative imagination. --Michael Cart
Review
“A smart, literary thriller [for] fans of Gillian Flynn’s Gone Girl.”—The Huffington Post
“Psychologically astute . . . DuBois hits [the] larger sadness just right and dispenses with all the salacious details you can readily find elsewhere. . . . The writing in Cartwheel is a pleasure—electric, fine-tuned, intelligent, conflicted. The novel is engrossing, and its portraiture hits delightfully and necessarily close to home.”—The New York Times Book Review (Editor’s Choice)
“[You’ll] break your own record of pages read per minute as you tear through this book.”—Marie Claire
“Jennifer duBois is destined for great things.”—Cosmopolitan
“A convincing, compelling tale . . . The story plays out in all its well-told complexity.”—New York Daily News
“[A] gripping, gorgeously written novel . . . The emotional intelligence in Cartwheel is so sharp it’s almost ruthless—a tabloid tragedy elevated to high art. [Grade:] A-”—Entertainment Weekly
“Sure-footed and psychologically calibrated . . . Reviewers of duBois’s first novel, A Partial History of Lost Causes, called it brainy and beautiful, a verdict that fits this successor. . . . As the pages fly, the reader hardly notices that duBois has stretched the genre of the criminal procedural. The limberness is welcome, indeed.”—Newsday
“Something more provocative, meaningful and suspenseful than the tabloids and social media could provide . . . [DuBois] tells a great story. . . . The power of Cartwheel resides in duBois’ talent for understanding how the foreign world can illuminate the most deeply held secrets we keep from others, and ourselves.”—Chicago Tribune
“[Jennifer duBois is] heir to some of the great novelists of the past, writers who caught the inner lives of their characters and rendered them on the page in beautiful, studied prose. . . . She aims to observe the thoughts that intrude at the most inappropriate times, to capture memories and intricate emotions, and to make penetrating comments about living today. In Cartwheel, she accomplishes this with acrobatic precision.”—Pittsburgh Post-Gazette
“From the first page, duBois’s intelligent, penetrating writing makes this sad story captivating, delivering it from the realm of scuttlebutt and into that of art. . . . What else can we learn from these events? The answer is plenty, as duBois explores grief and love, youth and aging, and Americans abroad through a set of distinctive characters bound by calamity.”—The Dallas Morning News
“[A] thrilling book . . . What influences our perception of reality—morality, faith, sexuality, privilege—and what happens when we realize those perceptions aren’t infallible? Recommended for: Anyone who . . . tends to get sucked into Law and Order and/or Criminal Minds marathons, or anyone who thrives on suspense.”—BuzzFeed
“[A] compelling, carefully crafted, and, most importantly, satisfying novel.”—Bustle
“An astonishing, breathtaking, and harrowing read.”—New York Journal of Books
“[DuBois] does an excellent job of creating and maintaining a pervasive feeling of foreboding and suspense. . . . An acute psychological study of character that rises to the level of the philosophical . . . Cartwheel is very much its own individual work of the author’s creative imagination.”—Booklist (starred review)
“Jennifer duBois, a writer whose fierce intelligence is matched only by her deep humanity, hits us with a marvelous second novel that intertwines a gripping tale of murder abroad with an intimate story of family heartbreak. Every sentence crackles with wit and vision. Every page casts a spell.”—Maggie Shipstead, New York Times bestselling author of Seating Arrangements
“Cartwheel is so gripping, so fantastically evocative, that I could not, would not, put it down. Jennifer duBois is a writer of thrilling psychological precision. She dares to pause a moment, digging into the mess of crime and accusation, culture and personality, the known and unknown, and coming up with a sensational novel of profound depth.”—Justin Torres, New York Times bestselling author of We the Animals
“Jennifer duBois’s Cartwheel seized my attention and held it in a white-knuckled grip until I found myself reluctantly and compulsively turning its final pages very late at night. It’s an addictive book that made me miss train stops and wouldn’t let me go to sleep until I’d read just one more chapter. And it’s so much more than just a ravenous page-turner—it’s a rumination on the bloodthirsty rubbernecking of the twenty-four-hour news cycle and the bewitching powers of social media, and a scalpel-sharp dissection of innocence abroad, a book charged with a refreshing anger, but always empathic. Jennifer duBois has captured the sleazy leer of lurid crime and somehow twisted it into a work of art.”—Benjamin Hale, author of The Evolution of Bruno Littlemore
“Like its namesake, Cartwheel will upend you; rarely does a novel this engaging ring so true. Inscribed with the emotional intimacy of memory, this is one story you will not soon forget.”—T. Geronimo Johnson, author of Hold It ’Til It Hurts
From the Hardcover edition.
Most helpful customer reviews
20 of 21 people found the following review helpful.
Well-written, but fatally compromised
By Roger Brunyate
I must be one of the few people in America not to know about the Amanda Knox case, except that she was tried for the murder of her roommate, a fellow exchange student at the University of Perugia. Which ought to have been helpful, since Jennifer Dubois writes: "Although the themes of this book were loosely inspired by the story of Amanda Knox, this is entirely a work of fiction." So I was prepared to enjoy, unfettered, a story about another American exchange student, Lily Hayes, arrested for a similar murder, only this time in Buenos Aires. I could see that the book was well written. I was looking forward to watch with interest as the facts emerged and theories unfolded, like a good detective story. And, as with a good novel, I looked forward to seeing the fictional Lily emerge as a real person in her own right. In the end, though, I was disappointed. I read with interest throughout, but felt that Dubois had not quite succeeded in balancing the detective aspects with the novelistic ones. More seriously, I felt she had been untrue to her stated intent: despite her intention of developing her imagined characters in her own way, the book kept taking turns that I felt arbitrary in terms of Lily Hayes, but which I later discovered were close parallels with Amanda Knox. The novel was a compromise between fact and fiction that ultimately did disservice to both.
Both novel and detective aspects get a strong showing in the opening chapters. The first has Lily's father, Andrew Hayes, a college professor, arrive in Buenos Aires with his younger daughter Anna; Maureen, Lily's mother, will arrive in a few days. It is a wonderful study in psychology, as they struggle to believe how the Lily they knew could ever be accused of such a thing; it also begins a journey deep into the Hayes family dynamics. All the stuff of a good novel, although Dubois also gets in a lot of necessary exposition about the alleged facts of the crime. The detective-story aspect comes to the fore in the second chapter, where we meet Eduardo Campos, the state prosecutor, meticulously sifting the evidence -- though there is a strong novelistic element even here, as we realize that part of Eduardo's fascination with Lily has to do with perceived similarities to his estranged wife, María. The novel moved into a higher gear for me at this point, and I looked forward to a kind of RASHOMON: different viewpoints on the central character, each seeing a different side of her, but keeping her core a mystery.
But no. Dubois tells an increasing amount of the story in flashback scenes featuring Lily herself. We learn of her excitement at coming to Buenos Aires, the flair and confidence that gets her a job as a waitress in an upscale bar, her failure to hit it off with her landlady, and her dismissive opinion of her roommate, the all-too-perfect Katy Kellers, "dullest of all possible humans, living at the precise center of all of the world's modest expectations for her, moving in confident strides toward the exact mean of her upper-middle-class life." Despite a sophomoric tendency to make such judgments, we come to like Lily, or at least to realize that she is by no means the affectless monster that she has been painted; she is very real. Dubois' point, I think, is that you can never really know anybody, and that even nice ordinary people can be capable of things you would never expect. To do this, she has to make Lily ordinary -- but in making her ordinary, she takes some of the steam out of her story. If the book moved into high gear whenever Eduardo Campos was onstage, it returned to cruise-control in the increasingly long sections with Lily. And whenever we came to Lily's boyfriend Sebastien Le Compte -- an effete, prodigiously rich, affected intellectual named surely after Sebastian in BRIDESHEAD REVISITED, and totally unbelievable -- it ground down into the lowest possible gear, if not actually into reverse.
As it went on, I found myself reading less for character than to find out what happens. But I was disappointed in that regard. Things kept turning up out of left field that made little sense in the context of the story that Dubois was telling. One detail as illustration: the DNA evidence from the crime scene includes a tiny spot on Katy's bra strap. There is no indication of how they came to look for it, or how they found it, and nothing whatsoever conclusive is made of it. So why is it there? Reading about the Amanda Knox case after closing the novel, however, I find that fingerprints (not DNA) on the victim's bra clasp were a controversial element in the evidence there. So it is clear that Dubois put it in her book too because -- despite her initial disclaimer -- she wanted the factual parallels between the two. Her approach mattered most to me at the end, where the outcome of the trial, and even more the events that occur after the trial, seem inorganic and arbitrary in terms of the character portrait that Dubois has been building up, fully explicable only in terms of what actually happened in the case of Amanda Knox. So which are you doing, Ms. Dubois: writing a free-standing novel, or riffing on the Knox case? You can't do both. [3.4 stars]
15 of 16 people found the following review helpful.
Cartwheels for the Brain: a Who-How-and-Why Dunnit
By E. Burian-Mohr
Lily Hayes is a college student doing a semester abroad in Buenos Aires. She is living with the Carrizos and rooming with Katy Kellers, who Lily finds just a little too perfect and, as a result, a little too boring. Lily, on the other hand, has never behaved in the ways expected of her, and being in Buenos Aires, she sees no reason to change her ways. Even when it is pointed out to her that her behavior is inappropriate, it never occurs to Lily to apologize or change. This makes the housing situation difficult. Beatriz Carrizo, in an attempt to be a good exchange family, invites a neighbor to dinner one night: Sebastien LeCompte. Only Sebastien isn't the good ol' boy next door; he's the orphan of possible spies who died (or were killed) when he was in his teens. He lives in a cavernous old house, filled with treasures draped in sheets (including a bizarre photo of his father-son hunting adventure). Sebastien rarely leaves or does anything, and does his best to appear elusive and evasive.
Lily and Sebastien embark on a relationship, to the delight of no one except, perhaps, Sebastien. She also gets a job at a local bar, and continues to do whatever she pleases.
Except then Katy is found murdered, and Lily is the prime suspect. In fact, Lily's the only suspect. During her interrogation she declines counsel, behaves in her usually inappropriate ways, and does a cartwheel in the interview room. As her emails and photos are revealed to the population of Buenos Aires, Lily is seen more and more as an uncaring villain. Her alibi is weak and her actions inexplicable.
Her family arrives to help. Prosecuting attorney, Eduardo Campos interviews everyone he can find, not only to build a case against Lily, but to understand what happened, why, and how.
The book is told from the perspective of many, with many differing insights. Through Eduardo and everyone who has come into contact with Lily, Jennifer DuBois leads us through the days leading up to the murder, Lily's childhood, and various perceptions of the situation.
Sometimes, when reading a book as densely written as this, you wonder how the writer could have another book in them, because so many perceptions and insights about the world and life have been poured into this book. That is often the feeling here. DuBois' descriptions are vivid; her characters unique and well-drawn. The only thing missing is the clues to lead the reader to a solid conclusion.
The book was said to be inspired by the Amanda Knox case, and, as many commenters have noted, it includes a lot of what went on in the Amanda Knox case. I took it as "inspired by", rather than as a fictionalized account of the Amanda Knox case. This seems to be a sticking point for many readers. You'll probably like it better if you take it as an "inspired by" tale.
The other sticking point seems to be that none of us has been able to tie up the story with a neat bow. I was fine with it because it allowed me to ponder motivations and means further and, face it, in real life we rarely learn the whole truth. If it's going to make you crazy, this is perhaps not the book for you.
11 of 11 people found the following review helpful.
Disappointing
By Yolanda S. Bean
From the very beginning, the author openly acknowledges that this literary “thriller” is based on the real-life Amanda Knox case. Though I vaguely recall some news bulletins on the real case, it is actually the study abroad element to the story that initially drew me the novel. Lily Hayes leaves the northeastern U.S. for a semester in Buenos Aires. Along with another young woman, Katy Kellers from California, she lives with a host family. Told from various perspectives, duBois opens the novel with Lily in jail for the murder of her roommate. Her family arrives to see her and the remainder of the novel alternates between this present and the past events leading up to Lily’s incarceration.
At first, the slow pace gives the book a bit of a tantalizing quality - the reader feels anxious to learn just what happened to land this young woman in prison. But, as the book continues to drag on (and on!), with characters all totally self-absorbed and preoccupied with how their own intelligence is conveyed to others, it becomes more and more difficult to plod through the remainder of the novel. And the payout, ultimately, isn’t even worth it. Even the victim, the elusive Katy Kellers, loses any initial sympathy, when she begins to act in the same unlikable way as every other character in the story. It also seems odd that so many other perspectives are offered, but never Katy’s.
The book feels like it’s striving to be considered a literary thriller and is focused too much on the literary half of the equation. There is nothing thrilling about this. It is slow paced, and even illogical at times. The prosecuting attorney’s entire perspective adds nothing to the overall story and feels like filler. There are repetitive sections as the same memories come filtered through each point-of-view. The bits of Buenos Aires present add a nice touch, but even this setting isn’t fully developed. All in all, it’s a disappointing read with a rushed conclusion and completely unlikable, selfish characters.
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